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ENAMEL

An Historic Survey to the Present Day

THE COOPER UNION MUSEUM

FOR THE ARTS OF DECORATION

ACKNOWLEDGMENT

In assembling material for the exhibition, the Museum has received
most helpful suggestions and information from the following, to
whom are given most grateful thanks:

KENNETH FRANCIS BATES
LEOPOLD BLUMKA

Prccy DE SALLE

Miss HELEN S. FOOTE

L£oOn GRINBERG

Miss YVONNE HACKENBROCH
MatTHiAs KoMOR

Mrs. Mary Lyon

AvucustTus PECK

Francis W. ROBINSON
WALTER ROZALSKI
LAURENCE E. SCHMECKEBIER

SEYMOUR SLIVE

The apparatus used for the technical demonstrations has been provided
through the courtesy of the Brooklyn Museum Art School.

The flock paper used in the cases was specially made for this exhibition by
Piazza Prints, Inc.

Copyright 1954 by The Cooper Union Museum for the Arts of Decoration

INTRODUCTION

\ vj HAVE FORGOTTEN HOW MUCH BY CHANCE, by mishaps and runs of luck
man was first induced to profit by the accidents that have filled his life with
marvels. But the goddess Fortuna, discredited now and doubtless fretful at
neglect, once manipulated the affairs of man with whimsical tyranny. In
ages less insolent than ours, when daily we rifle doom as if it were a penny
bank, her escapades were solemnly pondered; her gifts, good or hateful, were
received with deference. With the exercise of reason man has rejected the
troubling hints that his exploits may have had their beginnings in something
other than intelligence.

Can we say that the arch, the pulley, the lever and the wheel were “in-
vented,” that some haphazard event, delivering the example, did not precede
their application? Two walls fell together and joined in a curve; a vine grew
around a branch; a stick once trod upon moved a stone; the rolling circle of
a log called up a premonition of machines. Man does absolve himself of
vainglory to the extent that the fortuitous is gathered in, understood, and
regulated; to the extent that — never forgetting humility — he modifies occa-
sion by his will.

The means by which the goddess brings about invention are so slight, so
easily concealed, that her reward must often consist only of ironical pride,
not uncolored by envy. For from her vagaries, transfigured and controlled,
have come bronze and porcelain, glass of Venice and Amati’s vibrant strings,
the celestial hemispheres of Byzantium and the surging vaults of Chartres.
An artisan, acting upon her vagaries, submits them to menial ends and
remains her servant. But the artists seizes a mute device, and, by converting it
into a speaking instrument, becomes the deity’s master.

The artist’s language need not be of words. It may transmit through
melody or symbols, representation or form. Yet the requisite, if thought is
to be discovered to another, is that the imagery must be a compact between
equals; it cannot be wholly individual, hermetically contained, or separate
from human sympathies. And art, in order to surpass accidental origins and
expedient aims, must convey not only thought through order but feeling
through elation. If art does not, if the artist wards off this excruciating duty
and retreats, Fortuna laughs knowingly and applauds. For then art is again
in her power, to endure or not so long as she determines, to end in fragments,
discord and debris, without the immortality of soul that is the issue of travail
defined.

When the argil is twirled between the palms and wound into pottery,
something unites and remains with the clay, vivifying it and, for the potter

3

at least, responding, thereafter, as an ally. How much more identification
there is, then, between an artist and his creation, compounded as it is with
thought and instinct, technique and passion. It may even come about that
the artist thinks of himself only as an intermediary between amorphous spirit
and forged idea, as the hammer and anvil whose force and resistance give
shape and substance to inspiration. Whether he is a materialist or a mystic,
he who makes a thing with his hands, and whose hands are quickened by
more than the life of muscle and bone, covets what he has made and would
have it outlive him to celebrate his accomplished ambition. Man can survive
himself in what he makes, if the yield delivers some tidings of the mind, some
memory of feeling, which can be perceived by another, no matter how long
after he may come. So the search for expression is merged with the search for
some constant medium which will react to his pleasure and subsist as testa-
ment and triumph.

Of the media used to record pictorial ideas, none is more enduring than
enamel. ‘Tempera and fresco succumb to the infirmities of the panel and the
wall, oil pigments crack and flake, even bronze corrodes. But the pulverized
mixture of silica, borates, alkalis and metallic oxides which, heated on their
base of gold, copper or silver, fuse into the hard, bright stuff we call enamel,
will remain uncorrupted by moisture or most chemicals, and even by heat
that would destroy completely a painting or a print. How and where it was
discovered we do not know. Wherever there was glass, enamel was latent;
where vitreous glazes were used on ceramics, the step from ceramic to metal
base was only inappreciable. The Egyptians of the 18th Dynasty inlaid their
faience with powdered glazes of different colors and refired the pottery so
that the filling fused with the whole. Lapidaries of the Ptolemaic period
fixed glass in fillets of gold and fused them into place, apparently with some
sort of paste adhesive between the imitation gem and the base. Fragments
of mosaic glass from Abydos and Tell el-Amarna, of the 18th or 19th Dynasty
(Nos. 1, 2), and from Dendereh, of the Roman period (30 B.C.-364 A.D.)
(Nos. 3-5) might be called “‘proto-enamels,’”’ for they show how vitreous ma-
terial of different colors, though still employed as solid inlays, was melted
together to be used in jewelry and decorated utensils.

One would think that the Egyptians and the Graeco-Romans, with their
multifarious techniques and skills, would have hit upon the art of enameling
on metal as a logical and deduced result of their treatment of glass. Yet their
proficiency did not, apparently, lead them from one practise to another, as
would be plausible were man’s cunning as rational as he would like to
believe. It is probable that enamel originated somewhere else than in the
Mediterranean basin. The sophist Philostratus of Lemnos, writing about
240 A.D., informs us that “It is said that the barbarians of the outer sea pour

4

these colors into bronze moulds, that the colors become as hard as stone,
preserving the designs.” If such a craft had been common in Rome or Athens,
it seems strange that it would have been worthy of remark. And would it
not be more natural to suppose, since the first true enamels have been found
on the outskirts, rather than at the center of the Roman world, in Britain,
near Namur in Belgium, in the northern Caucasus and at Dura-Europos in
Syria, that among the gifted outlanders enamel was revealed by chance?
Perhaps some Celtic or Gaulish chieftain dropped a glass-encrusted brooch
into the fire and took it to his smith to be repaired; the smith noticed that
the glass had become attached to the metal, and began to experiment. Or
some vitrarius, a provincial glass-maker, seeing how the pot-metal had ad-
hered to the ladle, replaced cut stones with raw frit.

The technique, once having been found, must have spread with great
rapidity among the peoples who dwelt on the edges of the empire; that
enamels of relatively the same date (the 2nd and 3rd centuries A.D.) have
been uncovered in areas as widely dispersed as the Valleys of the Meuse and
the Euphrates may be an argument either for an unconnected, spontaneous
origin, or for a peripheral commerce in this happy substitute for precious
stones. But whatever the how and where and when, Roman Gaul, especially
Belgica, was apparently one of the first and largest scenes of manufacture.
There may have been economic reasons: northern Europe is poor in precious
stones. Aside from amber, garnets, amethystine and rose quartz, agates and
jet, there was little to be found in mines and creek-beds that would enrich
the gold and bronze. The fibulae (Nos. 10, 11, 13) in which native stones or
paste are set are rather somber; but let the cloisons be filled with enamel
(Nos. 6-9, 12, 14, 15) and the colors flash into light green, yellow, red and blue.

The border peoples had their own aesthetic, very different in source and
energy from that of classical antiquity. The forms of their jewelry, horse-
trappings and utensils are at once massive and restless; lines and interlaces,
animal and geometric figures coil and weave impatiently and asymmetrically
across the decorative fields. Where glass or precious stones occur, they are
used as bulky accents, with a crude yet stately grandeur. The enamel, then,
this novel substitute, is first applied to emphasize the metallic form; it lends
a prismatic inflection to the malleable base. But always with new media
there comes a point in the wielding when what was secondary and tentative
appropriates to itself a temperament, an independence of character, that
works in turn upon the craftsman. He discerns, falteringly, but with increas-
ing confidence, that the material makes its own demands; that, having been
developed, it develops further as a sovereign being. It is at this point that
the properties of the medium are given their privileges and are admitted to
self-determination.

The paramount qualities of enamel, as distinct from other decorative pig-
ments or materials, are its chromatic variety and its tactile and visual elegance.
It is not a veneer or a gloss, for its depth and consolidation with the metal
give it a lucid gravity that penetrates the form of which it is a part. Being
vitreous, whether translucent or opaque, it absorbs and reflects light, so that
underneath the superficial polish wells a profundity of radiation. Even when
painted on the base, when its divisions are not conditioned by metal bands,
enamel possesses a neatness, a limpidity of outline and body, that render it
both strict and sumptuous. It is not a means for recording the impression or
the reverie; once fused, the pigments are immutable; they must be placed and
designed with a deliberation that, for an art, is close to science. Cham plevé
and cloisonné especially, though with cultivation both may become finical,
still must comply with the habit ordained by the metal. And it is this pre-
meditated unity of the two components, the fluxible color and the resistent
ground, tempered in the kiln’s heat to a serene and balanced fixity, which
makes the enameler’s art the eager accomplice of devotion.

Our western eyes suffer from a kind of historic astigmatism which even
the lens of objectivity cannot wholly correct. We are still taught that Hellenic
civilization was somehow demoralized and dispersed, to be restored and col-
lected again by the humanists of the Renaissance. We look upon the glim-
mering residue of the Eastern Empire as something exotic, faintly vicious,
paralyzed by ritual and unhealthy contemplation. Yet the civilization of
Byzantium was a transposed Athens of the Periclean age, in which the same
order, the same reduction to type and module took place on an inward plane.
Its forms stood, not on sunlit promontories or in spring-fed groves, but within
piles of masonry that enveloped spaces crowned with gold and azure, where
the rhythms of mosaics, the measures of the liturgy turned the Greek intellect
away from body and mind to the imponderables of the Holy Wisdom. The
art evolved on the Bosphorus, in Georgia, Armenia, the Peloponnesus and
Illyrium was perhaps the most calculated effort to make real on earth the
mystic ecstacy of Christendom. All the disciplines and desires that drive the
spirit, that can be echoed and enforced by color, distortion, cadence and
power are distilled from the structure, and the hues and textures of Byzantine
decoration. Thus the episodes of the Gospels (Nos. 17, 18, 19, Fig. 2, 21),
the figures of saints (No. 23) and the Mother of God (Nos. 22, 26), contrived
of cloisonné enamel to cover tabernacles and screens, are the pictorial agents
of divine grace. The examples shown are perhaps a little less austere than
those of first half of the Empire’s span. They follow by several centuries the
final resolution of the iconoclastic controversies in 843, the ferocious strug-
gles between those who would ban images from the churches, and those who
would maintain them. Saint Theodore of Studium (died 826), with a logic

6

wholly classic, ended the dispute by arguing that the image-breakers were
heretics, since they denied an essential part of Christ’s human nature, namely,
that it could be represented graphically. The graphic representation of
Christ in Majesty (No. 24) is less natural than supernatural: the enamel, the
gold cloisons depict a figure whose robes and visage seem to diffuse the same
intensity, now cooled and burnished, that united them in the fire — that
synthesized, in religious ardor, the dictates of matter and salvation.

The Eastern Empire under the Comneni (1081-1204), the period of these
pieces, saw the arrival of the Crusaders and the eventual capture of the capital.
How the brawling fortune-hunters must have gaped at the wealth and sophis-
tication of the Sacred Palace, where twenty thousand functionaries, all in
their graded livery of dark blue, flame-red and gold, converged on the core
of imperial purple! How they must have fidgeted at the unendingly supple
gestures, the rites and formulae! With the contempt of the uncouth for the
civilized, they roistered and passed on, jealous and greedy enough to return
at last to sack the city in 1204. Yet the Crusaders were not entirely unim-
pressible. Those who made their way back to France and Germany retained
recollections of techniques; they brought sacred loot as well, which with
pious duplicity they donated for their souls’ sakes to churches and mon-
asteries. Byzantine enamels had now and then preceded them to the Caro-
lingian and Ottonian courts of the Rhineland, where the cloisonné was
crudely imitated. Emissaries such as Abbot Willibald of Stavelot in Belgium
carried triptychs and reliquaries away as gifts. But the great refluence of the
Crusades was responsible, more than anything else, for the appearance of
enamel among the descendants of the Gauls and Franks.

Fostered by the enthusiasm for representation that followed the quarrels
of iconoclasm, enameling had become one of the noblest arts of the Eastern
Empire. Again fostered in the West by the religious intoxication of the 12th
and 13th centuries, this same art enriched the shrines, bookcovers, candelabra
and other ecclesiastical appointments with hues and textures they had never
known before. But the enamel of the medieval West is a very different thing
from that of Byzantium; the difference springs, not from any critical change
in the substance, but from a dissimilarity of resources and attitudes. Byzan-
tine enamel is almost entirely cloisonné, and wrought upon ductile precious
metals, primarily gold. Though the mines of Saxony and Spain produced
gold and silver in some quantity during the Middle Ages, these metals were
never common enough to be used extensively by craftsmen. Copper and
bronze there were: these will withstand the kiln’s heat, but they cannot be
plied with the same refinement or elaboration. There arose, then, the second
special technique, that of champlevé, in which the pockets containing enamel
have been cut or etched into the metal base. The earliest medieval champ-

7

levé enamels, influenced by Byzantine cloisonné, disclose narrow metal
ridges between relatively large areas of enamel, as if the craftsman were more
intent, at first, on producing a counterfeit of the style than on perfecting his
own. Before long, however, the metal areas become bolder; the courage of
acknowledged limitations demands that the less tractable copper shall be
worked in its own way. This brings about, in turn, a perceptible alteration
in the quality of the enamel. Not being over gold, which will not tarnish
and reflects light, but over an easily oxidized metal, translucent enamel
would have been dim and stagnant. Instead, the paste is opaque and slightly
granular, as if to abet, with its solidity, the toughness of the base. Perhaps,
too, proficient though they were, the western craftsmen did not enjoy the
equipment, the furnaces and mortars needed to produce translucent enamel.
Yet their intuitive sense of fitness must have told them that the colors and
textures set into copper gilt should reciprocate with, and not antagonize
the foundation.

An aesthetic, whether it be self-conscious or innate, must come not only
out of material means but spiritual ends, and the spiritual ends of the West-
ern Church had serious incompatibilities with those of Byzantium. Theo-
logical niceties aside, the distinction is that between the ethereal plenitude
of the Holy Wisdom and the temporal verity of the Kingdom of God. The
Western Church inherited the Latin administrative tradition, not the phi-
losophy of Hellas. To worshippers it offered a spectacle and a redemption
no less wondrous, but of an order less subjective and sophisticated; its forms
are nature’s in her role as witness to God’s omnipresent love. ‘These forms
are meant to be looked at as divine evidence, not felt through as divine
passion.

Along the Meuse, in the medieval principality of the bishops of Li€ge, two
figures appeared in the 12th century who, seemingly without precursors,
established the arts of metalworking and enameling on a level hitherto un-
known. Both Renier and Godefroi, also called Godefroi de Claire, came
from the town of Huy. The latter, before returning to the cloister of
Neufmoustier in 1173, worked for the mighty Willibald of Stavelot, and was
commissioned to make the shrine of St. Heribert for the Church of Deutz,
on the Rhine-bank opposite Cologne. The enamels of Godefroi and his
school (Nos. 27-31, Fig. 3) are characterized by brilliant yellows, blues and
greens, with vigorous highlights of white. The colors are not separated by
ribs, but have been juxtaposed with a quill before firing. Godefroi and his
pupils doubtless proceeded according to the method laid down by the monk
Theophilus, who may have been the Benedictine Roger, writing in the
monastery of Helmershausen at the turn of the 11th and 12th centuries.
His ‘‘De diversis artibus: seu diversarum artium schedula,” or treatise “Upon

8

?

Sundry Arts: a Practical Compendium,” in the fifty-fourth chapter of the
third book, contains a detailed account of the means by which electrum, or
enamel, is placed in cloisonné: “. . . take all kinds of glass which you had
prepared for this work, and breaking a particle from each piece, place all
the fragments together upon a piece of copper . . . and placing it in the fire

. . you will see whether they melt equally. ‘Taking separate pieces of the
proved glass, place them in the fire one by one, and when each one has
become glowing, throw it into a copper vessel in which there is water, and
it instantly flies into small fragments, which you break with a round pestle
until made quite fine . . . taking a goose quill cut to a point, as if for writing
but with a longer beak and not split, you take out with it one of the colors
of glass, whichever you please.” He also says that, “in antiquis aedificiis
Paganorum” may be found mosaics and vases which are the best source of
powder for enamel. Speaking, too, of the spiritual ends of his text, he exhorts
the artist: “Animated, dearest son, by these covenants with the virtues, thou
hast confidently approached the house of God, hast decorated with the utmost
beauty ceilings or walls with various work, and, showing forth with different
colors a likeness of the paradise of God, glowing with various flowers, and
verdant with herbs and leaves, and cherishing the lives of the saints with
crowns of various merit, thou hast, after a fashion, shown to beholders every-
thing in creation praising God, its Creator, and hast caused them to proclaim
him admirable in ali his works.”

‘The apostles (No. 31), the Old Testament priests (No. 30), and the theo-
logical virtues (Nos. 27, 29) of this Mosan work have about them a classical
composure which seems to have been bequeathed by the origin of the enamel,
which, though pagan, could still be turned without error to Christian use,
for as Theophilus says, ‘““Through the spirit of wisdom you know that all
created things proceed from God, and that without him nothing exists.”

‘The contacts of the Meuse and the Rhine with Byzantium, through per-
sonalities such as Bishop Notger of Liege, the Empress Theophano, Willibald
of Stavelot and even Theophilus, who had once stood in the atrium of Hagia
Sophia, were the source of the art of enameling in that territory, and the
classic leaven of its style. Teutonic nationalism has made the Rhenish-Mosan
region the cradle of enameling throughout Europe, just as Gallic nationalism
has given the honor to the second center, the city of Limoges. Probably
neither is justified. Limovices was, from the 4th century, the capital of a
powerful and accomplished Gallic tribe. It housed the mints of the Mero-
vingian kings, and, being on the road to St. James of Compostela, was open
to all the itinerant influences of the pilgrimages, as well as to the trade in
copper from Spain and the north. The Limousins had been metal-workers
for centuries: the Gallic decorative tradition emerged again, once stimulated

9

by sensuous and religious need. In the ruins of the temples, theatres, baths
and palaces were middens of glass fragments, easily crushed and smelted.
And the enamelers were business-men. Between 1132, with the laying out
of St. Denis by the Abbot Suger, and the end of the 13th century, Sens, Senlis,
Noyon, Notre Dame de Paris, Laon, Soissons, Le Mans, Bourges, Chartres,
Rheims, Amiens, Noyon, Coutances, Rouen, Strasbourg and Beauvais were
building — an architectural proliferation unmatched in the western world.
The cathedrals, and the monasteries and parish churches dependent on them
needed ritual vessels (No. 47, Fig. 1), crosses (No. 45), caskets (Nos. 41-44),
chalices, candelabra (No. 50), bowls (Nos. 48, 49), and other things. Out of
the unprecedented demand came an unprecedented supply.

The stylistic evolution of medieval Limoges enamels is not easily con-
densed. In the 12th century the copper base, hatched and heavily gilded,
supports medallions, figures and conventionalized designs in enamel — an
echo of Byzantine format. The enameling is severely restricted to the pic-
torialized form, without adjacent or alleviating ornament. Between 1180
and 1220 the base is elaborated with a schematic foliate design between the
figures; these pieces are termed d fond vermiculé (Nos. 41, 44). ‘Toward the
end of the 12th century, another type appears, in which the gilded base is
heavily cross-hatched into a fine network of lozenges; somewhat later the base
is stamped with geometric patterns. About 1200 a transposition takes place:
the base is enameled instead, and the figures are reserved or set in relief
against it (No. 42). There may have been emotional and theological reasons
for this change. The same occurs in architecture, as the sculptured decora-
tion, applied as a subordinate part of the mass, cuts itself free and uses the
architectural form as an abstract setting for its drama, as the logic of scholas-
ticism was the sturdy trellis upon which climbed the luxuriant herbage of
medieval life.

With the gold rubbed from the ground, and colors often damaged by
abuse, we may disdain all but the least marred of the Limoges enamels. Yet
the pigments used were a cause of great risk and rivalry. Blue was obtained
from oxide of cobalt, often found in conjunction with cuprous deposits;
with traces of nickel, chrome and manganese it varies to grayish, greenish or
violet. Opaque white came from lead and Cornish tin calcined together;
red the enamelers obtained from lead and cuprous oxide, or from the alche-
mists’ “Purple of Cassius,” the precipitate formed when gold, dissolved in
aqua regia, is treated with stannous chloride. We know very little of the
traders who carried these minerals over the Pyrenees, or from the Black Sea
up the Danube and across into the west, of the expeditions that took years
for the journey, that glass might be ground with the oxides between marble
millstones, or in agate mortars, to become the splendid rosette-filled back-

10

grounds of caskets and crucifixes. The making of medieval Limoges enamels
was a commercial undertaking; the ateliers went about their task with an
impersonal organization which has left us devoid of particular names, and
insecure as regards the causes of the shifts of mood which led to innovations.
The art of these productions is therefore absorbed collectively from the great
reservoir of medieval life. Individuals as we conceive of them, human beings
whose portion should be to round out, of their own free will, their most
peculiar and exclusive talents, were absent from society. Instead, the human
being, whether serf or sculptor, scribe or priest, shared in a corporate organ-
ism that had, as its principle, the coalescence of nature and theology, to the
end that each might minister to the other as confirmation of the glory of
God. So too, the tendrils of metal and the enamel between them, the lozenges
and circles that environ the figures as a star-laden sky environs the world,
are illustrations of the medieval harmony.

‘The exact time at which an epoch, having reached integration, begins to
lapse, at which seeds formerly quiescent begin to swell and grow, cannot be
fixed categorically, for in the vital process — and no less in the supervital
process of art — advance and decadence are contingent on each other. By
the end of the 13th century the equilibrium of the Middle Ages is fragile if
not yet disturbed; a preoccupation with refinement supersedes. Richness,
and the sensuous excitement of flashing substances, imbue the arts. Enamel
is recast again, this time in a way which will mirror the expanding sensations
of the artist. Vasari tells us, in his “Introduzione alle tre arti del disegno,”’
that Giovanni Pisano was commissioned, in 1286, to provide the cathedral
in Arezzo with an altar covered with mosaics and enamels on plates of silver.
This is the first dated reference we have to basse-taille, the third technique,
in which translucent enamel is fused over silver or gold carved or chased in
relief. Italy may have been its birthplace, or it may have arisen elsewhere
simultaneously, out of conditions natural to the workshops. Pieces appear in
different parts of Europe almost immediately: the reliquary from Lichtenthal
in Baden, now in the Pierpont Morgan Library, is probably not more than
a decade younger than Giovanni Pisano’s now destroyed work. Basse-taille
gives to enamel an unwonted plasticity and opulence: figures and decorative
patterns can be worked in the ground with the minuteness of an engraving;
successive firings, which will gravitate the enamel into the deepest concavities,
produce shadows and highlights, near-opacities and glazes, which scintillate
and waver above and beneath (Nos. 62, 67, 78). As against the balanced
stability of Limoges champlevé, basse-taille is the enamel of motion, of flam-
boyance and agitation. It serves for decoration, both secular and ecclesiastical,
where beauty of appearance is an end in itself.

At this juncture enamel (as with other media) becomes the vehicle of a

11

fine art rather than a craft. The distinction is troublesome. To say that those
who filled the treasuries of Byzantium and Cluny with masterpieces were
somehow less alive to impressions, less ingenious and generative than those
who followed would be to underestimate their talents. Yet, in the intercourse
between maker and material which goes on in any workmanship, a turning
point is ultimately reached. The substance becomes so responsive to the
character pressed upon it, and the artificer becomes so appreciative of his
intentions as they are registered, that the creation assumes an intimacy in-
capable of duplication or collective execution, and the maker pays homage
to himself and the deed. The onlooker, also, pays homage to this private
deed as something absolute, and to the maker as one marked and set apart.
So the concept prevails that each artist’s relation to the world is matchless,
that what the artist does is to be valued for its fidelity to his superior vision.
Symbols and patterns decline; particulars, both in nature and the human,
multiply the means by which the artist expresses his affections, and the inter-
pretation of mankind by man wins through.

Such was the persuasion of the Renaissance —a persuasion the west has
never lost. We paraphrase the Renaissance as the rediscovery of classical
antiquity, a misapprehension which ignores cause and effect. Classical anti-
quity was never invisible, save to eyes blinded by the medieval order of
things. When, through the intuitive search for solutions, the aspects of man
became more urgent than the aspects of the Kingdom of God, Graeco-Roman
modes revived. They were never more than an accompaniment to the main
theme, which was humanism in the largest sense: the learning, the exhilara-
tion, the amusement and suffering which can be man’s when he beholds
himself and his senses through the eyes of his own experience. Subject-matter
appropriate to this commentary is introduced, and we deal with artists,
names, personalities and individual devices, rather than with anonymous
chattels of the faith.

Before taking up the pictorial tradition as it resulted from the humanistic
idea, it would be well to treat briefly certain other techniques and locales.
The rare examples of Hispano-Moresque work (Nos. 55, 58) display the
champlevé and cloisonné techniques, with a configuration of abstract and
denaturalized elements repeated over the surface. In medieval Spanish
champlevé enamel, probably practiced by artisans trained in, or in contact
with Limoges, the figures (Nos. 56, 57) are less homogenous than their French
counterparts, and there is a distinct partiality for the metal over the enamel.
Attendant on the studied extension of technique at the beginning of the
14th century, two more methods of enameling arrive. One is plique-a-jour
(“open braid’), in which the base has disappeared entirely, the translucent
enamel being held solely by the filigree separating each segment from the

12

other. Fabrication of plique-a-jour enamels, whether originating in Italy or
France, was the consequence of scientific progress. Alchemists, though often
frauds, were sometimes reasonable: their theory that metals might be trans-
muted into gold if only the scoria, the dross, were refined away led to the
discovery of acids, especially nitric acid, obtained by the late 13th century
mystic Raimon Lull by burning nitre and clay. The gold filigree could be
soldered to a copper base, filled with enamel, fused, and then placed in an
acid bath which ate the base away; if the work was entirely of copper, those
parts to be left intact were painted with asphalt. The extreme fragility of
plique-a-jour pieces, which are in effect stained glass utensils, has limited our
examples to modern work (Nos. 157, 163, 219, 220). Enameling on glass,
using a very hard glass of high silica content as the base, and soft enamels
(those with a high percentage of borax), probably first appeared in Tuscany,
where the deposits of boracic acid in the marshes had been mined since
ancient times. Actually, verre fixé or verre églomisé as it is called, can be
included among enamels only by courtesy, and to the extent that the frit
painted upon the back, often with the addition of gold, has been fused. The
product is not unlike that of a very delicate basse-taille, radiant and full of
detail (No. 60). The last of these elaborations, to be found almost solely in
France in the second half of the 16th century, is enamel en résille (No. 103).
The decoration, which is derived from the engravings of ornaments by
Etienne Delaune (1519-1583), was cut into rock crystal or hard glass; the
intaglio was then tamped with gold, into which additional cavities for the
enamel were drilled. The whole was fused, and backed with metal foil
tinted black or dark blue.

Though adornment of the person with jewelry, as a token of caste, for
magical defense against evils of all kinds, or as sheer magnificence, has been
common to all races and periods, the Renaissance promoted the jeweler’s art
beyond any precedent. There were wealth to be paraded and personages to
be puffed up. But the first determinant was that jewelry, expressly commis-
sioned by the patron, not only allowed the artist the widest play of his deftness
in combining techniques, but provided the customer with the opportunity
for joining (if only vicariously) in the industry. To have empowered an
artist to create was, to the humanistic mind, barely secondary to the act of
creation. Renaissance jewels (Nos. 71-76) are surprisingly international in
character: they are very seldom signed, and the motifs — mythological, alle-
gorical or formally decorative — travelled with the goldsmiths from court to
court, from Florence to Vienna, to Blois and the free imperial cities of the
north. The pieces often combine exquisitely realistic subjects in opaque and
translucent enamel with some abnormal article such as a blister or baroque
pearl (No. 74), in which the subdued iridescence of the gem, forming a cloud,

13

or the body of an animal or bird, supplements the lustre of the enamel.
“Venetian” enamel (Nos. 65, Fig. 4, 66), so-called despite the absence of any
genuine data that Venice was its place of manufacture, completes the minor
Renaissance types. This variety is largely confined to domestic gear. The
oriental shapes employed argue for Venice, which was the preéminent gate-
way to the East, and in 16th century inventories it is designated “email
turquie.” The copper ground is entirely covered with enamel in blue, green
and red, with large areas of white, the whole overlaid with stars, oak leaves
and fronds of ferns in gold. The pieces must have come from one, or at
most a few related workshops; appearing in the second half of the 15th
century, it disappears after 1550.

Now for the second time Limoges lays claim to primacy in the history of
enamel. In the Middle Ages, “Limoges’’ is a synonym for champlevé; in the
Renaissance, it denotes a fresh and unconventional type, that of a pictorial
statement fired on a copper base first covered on both sides with opaque
white enamel, constituting a ground no different from the panel or canvas
of a painter. Again the origin is unclear. The innovation has been ascribed
to the influence of late-15th century glass painting, and to the desire to
imitate on copper the lucent effect of Italian basse-taille. The initial attempts
were made, apparently, by modest craftsmen about 1470 or 1480. If one may
increase speculation with surmises, a partial answer may be found in those
mysterious factors, taste and demand, actuated by long-range political events.
The production of medieval Limoges enamels was a commercial undertaking;
its products were largely at the disposal of the Church. Between 1483, when
Louis XI, the “universal spider,” died, and 1515, the accession of Francis I,
two facts may be taken into account. One was the issuance of edicts by
Louis XI restricting the rank of guild-master to certain privileged families.
The other was the ascent, despite wars and ruinous taxes, of a bourgeois
artisan class whose function was to embellish the broadened and secular
artistic horizon of the nobility. Thus the humanistic pictorial temperament,
already wholly matured in Italy and Flanders, passed into France at the
service of an established profession which, without abandoning its materials,
could emulate the compositions of more sophisticated lands beyond the
frontier.

The founder of the first prominent family of Limoges enamelers was
Léonard, or Nardon Pénicaud, active between 1503 and 1539 (No. 82).
Nardon’s brother or nephew, Jean I Pénicaud, working between 1510 and
about 1555, advanced the art with colors that are forceful and even violent:
violet shadows underline the physical structure of the faces, the blues are
full-toned, the greens dense, and lines of gold add their glow (No. 83, Fig. 8).
Jean I] Pénicaud, thought to be the son of Nardon, was probably the same

14

vyun|g pjodoay aq juoy

Iis-ozu01q puv toddos ‘jaumvus gropdtueyp savso0q OMSVHOAY OL Coby

Fic. 2. THe TRANSFIGURATION; Cloisonné enamel and gold
$'

Georgia, Byzantine Empire; 12th century
Lent by The Detroit Institute of Arts

Tic. 3. RELIQUARY; champlevé enamel, semi-precious stones, and copper-gilt:
Valley of the Meuse, Germany; about 1150
Lent by The Cleveland Museum of Art, J. H. Wade Collection

PETS khacbd ¥ ig PALMAR La LLL

ao eee =

peyote

Fic. 4. Cur and Cover; painted enamel on copper
Venice, Italy; late 15th - early 16th century
Lent by The Art Institute of Chicago

Fic. 5. Hstane Lu, Incense Burner; cloisonné and champlevé enamel, copper and bronze
Probably Peiping, China; Hstian-Té; 1425-1435
Lent by Ralph M. Chait

Fic. 6. Alderman Stephen Theodore Janssen, as Lord Mayor of London: Miniature portrait

on copper
York House, Battersea. England; 1754
Lent by Irwin Untermyer

Fic. 7. WALL Cross, scenes from the Life of Christ; painted enamel on copper
Karl Drerup, (1904- ); Campton, New Hampshire, U.S. A., 1953
Lent by the Artist

Muy Jo unosnyy vigdpopeyiyd oy) Aq juo]

Jean Pénicaud who was called to Bordeaux in 1564, in company with Léonard
Limousin, to execute decorations for the triumphal entry of Charles [IX and
Catharine de’ Medici. With him there begins a significant, and intrinsically
contradictory application of white opaque enamel over a black ground,
known by the same term used in painting, grisaille (No. 84). It is contra-
dictory because, though the result may be stunning in a gloomy way, it
negates the indwelling property of the medium, the stabilization of color.
‘Though the works of the Pénicaud atelier (Nos. 85, 86, 87) do not succumb
to grisaille forthwith, the method becomes more and more important. Jean
II Pénicaud is noteworthy also as the artist who repudiated any lingering
medieval motifs, either of subject-matter or demeanor: with him the Renais-
sance in French enamels stands free. Another representative of the human-
istic current is the nameless artist who, during the first third of the 16th
century, produced a quantity of plaques (No. 97) of scenes from Virgil’s
Aeneid, derived from woodcuts printed by Johann Griininger of Strasbourg
in 1502. ‘These, with their amber-colored soil, bright green foliage and
grisaille figures, are perhaps the most attractive examples of these era of
transitional illustration. Of all Limoges enamelers the most renowned was
Léonard Limousin, the innkeeper’s son who, by 1548, was able to sign his
works with the stately inscription “esmailleur, peinctre, valet de chambre du
Roy.” Born about 1505, his style evolved under the influence of German
prints, especially those of Diirer, but he turned to Italian engravings after
Raphael and then to the eclectic eroticism of the School of Fontainebleau.
Francis I, ever alert and liberal where art was concerned, commissioned him
in 1545 to make twelve plaques of the apostles, now in the church of St. Pierre
at Chartres. As valet de chambre he was all but knighted, and had free access
to the designs, as well as the celebrities, current at the court. His technique,
a blend of incisive draughtsmanship, luscious color, and a sensuous rendition
of flesh tones, is a sure transcript of the carnality and shrewdness which
reigned with Francis I and Henry II. Two later members of the family, Jean
Limousin, born about 1561 and still living in 1646, and Francois, who died
about 1646, probably a nephew and grand-nephew respectively, continued
among others to produce portraits and mythological scenes (Nos. 89, 90).

Pierre Reymond is the last impressive figure of this extraordinary reha-
bilitation of the art. Born about 1513, he was twice consul in Limoges (1560
and 1567), dying shortly after 1584. As a contrast to Léonard Limousin the
self-made aristocrat, Pierre Reymond is the flourishing wholesale decorator,
with a host of busy underlings and a clientele as smart and well-to-do as
the Tucher of Nuremberg. Grisaille relieved by light blues, greens and
yellows adapts both decorative and pictorial motifs from Italian, French and
German print-makers: Etienne Delaune, Thielmann Kerver, Virgil Solis,

15

and Holbein (Nos. 91-94). The mercantile fecundity of Pierre Reymond
contained its own decay, which was speeded by the preferment, after 1594,
of Paris as a royal residence, and the migration of artists to the court. By
the beginning of the 17th century the white ground used by Léonard
Limousin in his portraits became the field of painting on, rather than in
enamel, by miniaturists using pigments of pure metallic oxides suspended
in flux and fused on the enamel base. The snuff boxes, chatelaines, portraits
and small plaques of the 18th century (Nos. 109-113) are all in this medium,
which any painter, given a little practice, can control. Microscopically fine
and winning though they may be, their quality is no different from that of
a miniature on porcelain or ivory; the inconsistency begun with grisaille
is complete.

Pierre Reymond’s popularity in Germany is a clue to the style espoused
there, as well as to the persistent influence of foreign styles. Indeed, the
Renaissance in Germany is even more of a mélange than elsewhere, but it
is suffused by an oddly national characteristic, an inclination toward natural-
ism combined with extravagance. Primarily a material subordinated, by the
goldsmith, to the metal, enamel is used either to stress forms already three-
dimensional (Nos. 121, 123) or as an incrustation (Nos. 114, 115, 118, 119)
which is plastically handled in the manner of porcelain or wax. Painted
enamels of both the types mentioned above do exist (Nos. 116-129); the
choicest of painting on enamel is that produced in Saxony, mostly in Dresden,
and in Augsburg and Berlin. The Froméry workshop, in Berlin, specialized
in raised gold work on a white background (No. 126).

Renaissance humanism, temporarily discountenanced by the hostilities of
Reformation and Counter-Reformation, has since prospered with a success
not altogether steady. The abundance of stimuli supplied by the world to
man, when man is his own arbiter and norm, are so diverse — and even dis-
cordant — that true singleness of style or intention is unattainable: freedom
and unity are foes. And when man uses materials as mere conveniences of
personal expression, overriding their traits for the sake of his own, the
materials languish. Thus in the early 17th century, when enamel became
a mere point of departure for graphic representation, its interior structure
disintegrated. It became, for a time, a sort of utilitarian cosmetic: bright,
superficially convincing, tenacious if not mistreated — but secretive of the
character beneath.

This is best seen in England. The “Surrey” enamels of the second half
of the 17th century (Nos. 130, 131) are household articles of cast brass, the
cavities filled with simple opaque colors which, though shallow, interplay
with the metal. But with the establishment of the enamel works at York
House, Battersea, by Stephen Theodore Janssen (No. 132, Fig. 6) about 1750,

16

an enterprise ending in bankruptcy after six years, the commercial produc-
tion of enameled copper boxes decorated with transfer-prints made from
engravings reduced the medium at once to a substructional state. Concomi-
tantly, in the Midlands towns of Bilston, Wednesbury and Birmingham, an
almost over-plentiful production of snuff-boxes, tea-caddies, canisters, thim-
ble-cases and other objects (Nos. 135, 136-138, 141, 143-145) sprang up,
exhibiting lustrous ground colors, fantastic rococo cartouches of flowers and
scrollwork, and fine gilding. The South Staffordshire productions are, in
effect, the bourgeois Limoges of rational romanticism. Continental work
(Nos. 146-150), more directly under the influence of France, and with a
stubborn tradition of craftsmanship, continued the fabrication of bagatelles,
miniatures and utensils.

It would seem that the dominion of the Russian Orthodox Church would
have been the citadel of the Byzantine in Europe; in painting this was true,
but Russian enamels, perhaps because of an underlying strain from the
Wandering Peoples, lean toward the West. Ivan IV (1535-1584), “The
Terrible,” subsidized wholesale migrations of western craftsmen. Techni-
cally, Persia had its say, examples from the Near East (Nos. 167, 168) being
a stock-in-trade with merchant families, especially the Stroganovs. Both
champlevé and cloisonné were used, with patterns of arabesques, diapers,
sharply pointed leaves and pearled borders. Cloisons of twisted wire and
a minute filigree, called skan, were typical. Such an association of styles could
hardly be expected to result in coherence, yet the ““Muscovite” enamels (Nos.
154, 155) have a totality of effect that comes from exuberance of feeling and
sensuous frankness. In the hands of masters backed by the immeasurable
wealth of the Imperial court, this same sensuous candour, appealing through
every stratagem of skill and rarity, surpasses itself in the work of Peter Carl
Fabergé (Nos. 164-166). In the history of enamel the Russian imperial pieces
are curiosities. Commercially manufactured, they are never gross. Useless,
save as costly distractions, the medium is never degraded by mannerism.
The simplest seal is exquisite, and the most intricate toy is understandable.
Baubles they may be, but with an esteem for the alliance of means and ends
which eclipses their frivolity (Nos. 157, 158, 161-163).

A continuity born of fatalism, and a conventionality that springs from
philosophical contempt for material progress, are the marks of the Orient,
though within the Orient styles differ as fundamentally as in the West. In
India, the stronghold of the precious stones counterfeited, in Europe, by
glass, enamel was used to contrive a flashing background for the more bril-
liant gems (Nos. 169-173). In China, the inventiveness associated with
bronze-casting and movable type did not extend to enamels. “Fa lan,’ the
word for enamel, is perhaps derived from “‘fo lin,” the name for the Byzantine

17

Empire. In the Ko ku yao lun, a book on antiquities published in 1387, it
says that “in the present day a number of natives of the provinces of Yunnan
have established factories in the capital (Peking) where the wine-cups are
made which are commonly known as ‘inlaid’ work of the devil’s country.”
This would be cloisonné or champlevé enamel, becoming prevalent in the
first decades of the Ming Dynasty (1368-1644). Perhaps the art was intro-
duced over the silk routes, or by the random ambassadors and missionaries
who blundered in. Once available, the technique was adeptly imitated:
floral and symbolic patterns of great suavity and verve enrich the bronze
(No. 174, Fig. 5, Nos. 175-178, 182, 184, 185). As in the golden age of
medieval Limoges, the enamel is always bounded by, and enhances, the con-
taining figure of the metal. The “chinoiserie” of Europe was paralleled, in
China, by a kind of fashionable occidentalism. Jesuit missionaries, com-
mencing with Matteo Ricci, who arrived in Peking in 1601, imported western
art, and Father Attiret, a Frenchman, is said to have tried to paint in a
manner combining Chinese and European styles. The painted enamels (Nos.
179, 180, 181, 183, 188) made in Peking, Canton and Swatow, of the 18th
century, are either pictorial in the western sense, or formally decorative:
they have a smoothness and softness due to the composition of the applied
colors being of precisely the same nature as the ground, so that both are
incorporated.

Our first concern, the Occident, suffered, at the onset of the 19th century,
a benevolent blight which, for all its remedial measures, it has not yet
learned to control, much less cure. The machine, from the turbine to the
potato-peeler, has spread a harvest of advantages, and wrought havoc among
those who would form communicative images with their hands. The artist,
on one side, loath to contaminate himself by contact with so impersonal an
apparatus, became more and more aloof, and looked either backward to the
masters or inward to his isolated fantasy. The craftsman, when not a me-
chanic, became equally unsociable, with the additional obstacle that his
designs were determined, not by an evolution, but by eclecticism. The result
was an international anonymity without popular roots or aristocratic dis-
crimination. Enamel, that firmest phoenix among the arts, seemed to have
burnt itself out among the bijoux (Nos. 197-200, 204-210, 212-214.)

Yet expression, and specifically expression that consists of the trial of
media that are not facile, that do not effortlessly dispose themselves to flaccid
impulses — this expression will at length break through. It may start again
from faulty notions, such as the one that craft, per se, is estimable (Nos.
215-218), and that what is said is irrelevant so long as the saying has been
manual. But the force that lies within material, once loosed (no matter how)
‘will summon up the energies to control it. ‘Thus at the present time, when

18

the precariousness of our station becomes insufferable, there is a need for
fixing unalterably in form the reflections that have transmissible meaning.
This is not to be done by chance, by the accident masquerading as decision,
least of all in a medium that should be learned, prepared, watched and
finished by one human being. So enamel has been reinstated among the
decorative arts (Nos. 221, 222, 226-241, 242, Fig. 7, 243-250). The outcome
of chance, yet the most deliberate of media, the fusion of enamel can melt
together artist and beholder, structure and idea, in a bond as sustaining as
the icons of Byzantium or the triptychs of Limoges.

EvereTr P. LEsLEy, JR.

A SHORT GLOSSARY OF ENAMELING TECHNIQUES

BASsE-TAILLE (low-cut). A combined technique. A low relief, usually in silver or gold, is
flooded with translucent enamel. This enhances the plastic effect and adds color, the enamel
being thickest where the cutting is deepest.

Perfected and practiced primarily in Italy in the 14th century (Nos. 62, 67, 78) .

CHAMPLEVE (raised field). The piece is engraved to receive the enamel (No. 41). The areas
cut are filled with enamel and fired until the enameled field is raised flush with the reserved
metal. The whole is polished and the metal usually gilt and burnished.

Perfected in the Valleys of the Meuse and the Rhine in the 12th century (Nos. 27, 29, 31, 35),
and in France at Limoges (Nos. 39, 42, 47, 48) .

CLOISONNE (separated, partitioned). A technique which probably antedates the discovery
of enamel and was used as a fastening for precious and semi-precious stones.

Cloisons, or ribbon-like strips of metal, are fastened edgewise to a metal base. The areas
outlined are filled with enamel, sometimes above the edge of the cloisons. After the last firing
the piece is polished until the design of the cloisons is apparent and the surface is smooth.

Perfected in the Byzantine Empire in the 12th century (Nos. 16-26), though rare earlier and
less sophisticated examples may be found in western Europe. Cloisonné was introduced into
China probably in the 14th century, and into Japan afterwards (Nos. 174, 192). Pieces are still
made in the Orient, usually with technical proficiency but of varying artistic interest.

ENAMEL. A vitreous substance similar to glass, colored by the addition of metallic oxides and
fused on a metal surface. Enamels are opaque, translucent or a combination of these which is
semi-translucent or opalescent.

Encrustep. Almost exclusively a goldsmith’s technique. Enamel is used relatively thickly to
cover and model small figures of gold (Nos. 70, 72, 74). Jewelry and small precious objects are
enriched with this kind of enamel.

Encrusted enamel is found from the 16th century in Europe (Nos. 71, 73, 75, 79) and India
(Nos. 169, 171, 172, 173) .

EN PLEIN (in full, complete). A finish rather than a technique. The entire surface of the
piece, or the larger part, is covered with enamel, usually translucent, of high finish. The extreme
smoothness of surface makes this method particularly appropriate for small objects that are
to be handled.

Perfected in Europe in the 18th century and made up to the present (Nos. 134, 142, 165, 195).

En R&SILLE (in network). A goldsmith’s technique, similar to champlevé but in smaller

19

scale. The piece to be enameled, usually rock crystal or hard glass, is engraved with the design.
The design is filled with gold and the cavities, to contain enamel of low fusing point, are
drilled out.

The technique, perfected in the 16th century, is rare (No. 103).

PainTeD. In this technique a sheet of metal, usually copper, is slightly domed. Both sides
receive coats of enamel; that on the concave, or reverse, is called the counter enamel. The convex
side is painted in colored or grisaille enamels. Grisaille requires a complicated method of
painting several layers of white opaque enamel on a black ground. The degree of grayness is
achieved by the amount black ground permitted to show through the white. Each application
of enamel must be fired at a lower temperature than the preceding one or the earlier painting
is destroyed. Grisaille and colored enamel are often found on the same piece.

Perfected in France in the 16th century and used for portraits, plaques (Nos. 85, 91, 92), and
religious (No. 83) and domestic articles de grande luxe (Nos. 87, 90, 93, 94, 95) .

Miniature paintings and portraits of the 17th and subsequent centuries are not enamel
painting. While the painting is done on enamel, it is not done in enamel but in fusible
pigments, usually raw metallic oxides with a little flux, and fused to the prepared enameled
plaque (Nos. 112, 128, 136, 139) .

Transfer printing is a variant of the miniature technique. A printed design is transferred
to the prepared enamel surface, colored and fired (Nos. 113, 132, 135) .

PLIQUE-A-JOoUR (open braid). Two general types of this technique are known; translucent
enamel is used in both. One is a variant of cloisonné. Here the cloisons are fastened to them-
selves only and not to the ground, which may be mica or a non-fusible expendable material.
After firing, the ground is removed, leaving only the enamel and the cloisons. The effect may
be compared with that of a stained glass window. Occasionally wire is used in place of cloisons
(No. 163). In the second type proportionately less enamel is used; it fills holes worked in a solid
metal piece.

Mention of plique-a-jour work is found in France from the 14th century but few early
examples exist. It was most popular in Russia and from the 17th century (Nos. 157, 161,
162, 219). WILLIAM OsMUN

CATALOGUE

(The numbers set in parentheses after the descriptions of the objects refer to the owners
of the objects, as shown in the list of Contributors to the Exhibition on page 28.)

PROTO-ENAMEL THE FIRST MILLENNIUM
1. Nine fragments of pressed thread glass; 6. Five ornaments; champlevé enamel and
Tell el-Amarna, Egypt; 18th Dynasty (34) bronze; Gaul; 2nd-3rd century (10), J. H.
2. Mosaic glass, fragment; Abydos, Egypt; Wade Collection
18th or 19th Dynasty (34) 7. Round fibula; champlevé enamel and
3: one mosaic glass; Dendereh, Egypt; bronze; Gaul; 3rd-4th century (38)
oman period, 30 B.C.-364 A.D. (34) L reas ’
; : : z 8. Wheel fibula; champlevé with bronze;
4. Mosaic glass with lotus bud; Dendereh, Gaul: 3rd-4th f 38
Egypt; Roman period, 30 B.C.-364 A.D. Saeco »
(34) 9. Round fibula; champlevé enamel and
5. Two pieces of mosaic glass with rosettes; bronze; Gaul; 4th-5th century (29)
Dendereh, Egypt; Roman period, 30 B.C.- 10. Buckle and tongue; cloisonné paste and
364 A.D. (34) bronze; North Gaul; 6th century (24)

20

11.
12.

I},
14.

15.

Pair round fibulae; cloisonné glass and
silver-gilt; North Gaul; 6th century (24)
Round fibula; cloisonné enamel and
bronze; partly gilt; North Gaul; 6th cen-
tury (24)

Round fibula; cloisonné paste and silver;
North Gaul; second half 6th century (24)
Annular pin; inlaid enamel and bronze;
Ireland; 8th-9th century (24)

Buckle; champlevé enamel and gold; Lom-
bardy, Italy; 6th-10th century (38)

12TH CENTURY: BYZANTINE EMPIRE

16.
17.
18.
19.
20.
21.

26.

Three fragments; cloisonné enamel and
gold (24)

“Entry into Jerusalem,” plaque; cloisonné
enamel and gold; Georgia (5)

“The Baptism of Christ,” plaque; cloisonné
enamel and gold; Georgia (13)

“The Transfiguration,” plaque; cloisonné
enamel and gold; Georgia (13)

“The Mother of God,’ plaque; cloisonné
enamel and gold; Georgia (31)

“The Crucifixion,’ plaque; cloisonné en-
amel and gold; Georgia (31)

. “The Mother of God,” plaque; cloisonné

enamel and gold; Georgia (31)

. “St. James,” plaque; cloisonné enamel and

gold; Georgia (31)

- “Christ in Majesty,” plaque; cloisonné en-

amel and gold; Georgia (31)

. Double Cross with the Four Evangelists;

cloisonné enamel and gold; Georgia (31)
“The Mother of God,” plaque; cloisonné
enamel and gold; Georgia (42)

12TH-14TH CENTURY: GERMANY

27.

28.

oO

30.

31.

32:

33.

34,

35.

Reliquary; champlevé enamel, semi-pre-
cious stones and copper-gilt; Valley of the
Meuse; about 1150 (10), J. H. Wade Col-
lection

Plaque, probably from a shrine; champ-
levé and cloisonné enamel and copper-
gilt; Valley of the Meuse; about 1150 (9)
“Hope,” plaque; champlevé enamel and
copper-gilt; Valley of the Meuse; about
1160-70 (9)

“Aaron,” plaque; champlevé enamel and
copper-gilt; Valley of the Meuse; 1160-70
(9)

“St. James and St. John,” plaque; champ-
levé and copper-gilt; School of Godefroi
de Claire; Valley of the Meuse; about
1160-70 (9)

Plaque, spandrel-shaped, probably from a
shrine; champlevé enamel and copper-gilt;
Cologne 1170-80 (9)

Colonnette, from a chasse; champlevé en-
amel and copper-gilt; Cologne or Valley of
the Meuse; second half 12th century (13)
Colonnette, from a chasse; champlevé en-
amel and copper-gilt; Cologne or Valley of
the Meuse; second half 12th century (13)
Plaque, from a shrine; champlevé enamel
and copper-gilt; Valley of the Rhine; 12th
century (10), J. H. Wade Collection

36.
37.

38.

Casket, reliquary; champlevé enamel and
copper-gilt; Liineburg; 12th century (38)
“Christ Blessing,” plaque; champlevé en-
amel and copper-gilt; Valley of the Rhine;
13th century (37)

Plaque; champlevé enamel and copper-
gilt; South Germany (now Switzerland);
14th century (38)

12TH-14TH CENTURY: FRANCE

39.

40.

41.

42.

43.
44.

ADs

46.

47.
48.

49.

50.

51.
52.

53.

54.

Winged ox and winged lion, two appliqués,
symbols of St. Luke and St. Mark; champ-
levé enamel and copper-gilt; Limoges;
late 12th century (24)

St. Mark, probably from a shrine; champ-

levé enamel and _ bronze-gilt; Limoges;
late 12th century (23)
Chdsse without enamel; copper, once

champlevé enamelled and probably gilt;
Limoges; late 12th or early 13th century
(24)

Chdsse; champlevé enamel and copper and
bronze-gilt; Limoges; early 13th century
(9)

Chasse; champlevé enamel and copper-gilt;
Limoges; early 13th century (44)

End from a chdsse; champlevé enamel and
copper partly gilt; Limoges; mid-13th cen-
tury (23)

Terminal plaque from a cross; champlevé
enamel and copper-gilt; Limoges; mid-13th
century (24)

Plaque, from a chdsse; champlevé enamel
and copper-gilt; Limoges; mid-13th cen-
tury (24)

Eucharistic dove; champlevé enamel, cop-
per and bronze-gilt; Limoges; 1250-75 (5)
Gemellion; champlevé enamel and copper
once gilt; Limoges; second half 13th cen-
tury (13)

Gemellion; champlevé enamel and copper
once gilt; Limoges; second half 13th cen-
tury (32)

Candlestick, with the arms of France, and
of Bernard, Comte de Turenne and his
wife Marguerite; champlevé enamel and
copper-gilt; Limoges; late 13th century (38)
Pendant; champlevé and copper; France;
late 13th century (23)

Pastiche, including fragments from a
chdsse; champlevé enamel, semi-precious
stones, cameos, and copper-gilt; enamel,
Limoges, mid-I13th century. This object
was assembled in the 19th century using
fragments from various earlier periods (24)
Plaque; cloisonné enamel, semi-precious
stones, copper and silver-gilt; enamel, Paris,
about 1300 (24)

Chatelaine hook; champlevé enamel and
silver; France; 14th century (24)

13TH-14TH CENTURY: SPAIN

55.

Two plaques, probably from a belt; cloi-
sonné enamel and gold; Hispano-Moresque;
13th-14th century (10), J. H. Wade Col-
lection

21

56.

57.

58.

“St. Luke,” appliqué; champlevé enamel
and copper-gilt; Spain; first half 13th cen-
tury (23)

“Christ in Majesty,” plaque, from a chasse;
champlevé enamel and copper-gilt; Spain;
14th century (24)

Vessel; champlevé enamel and copper part-
ly gilt; provenance and date unknown;
perhaps Hispano-Moresque, 13th century
(6)

14TH-16TH CENTURY: ITALY

59.

60.

61.
62.

63.

64.

65.
66.
67.
68.
69.

70.
71.
72.

73.

74,

75.

76.

Cross, with Virgin and St. John; champlevé
enamel and copper-gilt; Florence; 14th cen-
tury (13)

Pax, with arms of the Benucci; verre fixé
and painted enamel on glass, silver-gilt;
Siena; 15th century (26)

Chalice; painted enamel, silver-gilt; Italy;
15th century (38)

Pendant badge, arms of the Sforza; basse-
taille enamel, silver-gilt; North Italy; 15th
century (4)

St. Luke, St. Paul, and St. Mark, triple
plaque; painted enamel on silver; Italy;
second half 15th century (24)

Christ bearing the cross, plaque; encrusted
enamel, copper-gilt; Italy; late 15th-early
16th century (24)

Cup and cover; painted enamel on copper;
Venice; late 15th-early 16th century (9)
Reliquary; painted enamel on copper,
glass; Venice; 16th century (5)

St. Paul, plaque, basse-taille enamel on
gold; Florence; 16th century (24)
Sweetmeat bowl; painted enamel on cop-
per, silver-gilt; Italy; 16th century (26)
Agnus Dei (?), pendant; encrusted enamel,
gold, baroque pearl, stones; Italy; 16th cen-
tury (19)

Terminal figure, a soldier; encrusted en-
amel, gold; Italy; 16th century (23)
Pendant, with cameo; encrusted enamel,
gold, cameo, stones; Italy; 16th century (4)
Pendant, figure mounted on a lion; en-
crusted enamel, gold, pearls, stones; Italy;
16th century (4)

Pendant, quatrefoil enclosing a cross; en-
crusted enamel, gold, stones, pearl; Italy;
16th century (5)

The Assumption of the Virgin (?); encrust-
ed enamel, gold, baroque pearl; Italy; late
16th century (5)

“Pelican in her Piety,” pendant; encrusted
enamel, gold, pearls, rubies; Italy or Ger-
many; 16th century (5)

Crucifix, pendant; encrusted enamel, gold;
Italy; 18th century (6)

16TH-18TH CENTURY: FRANCE

77.

78.

22

Pax; painted enamel on copper, and bronze-
gilt; France or North Italy; late 15th or
early 16th century (4)

St. Barbara, pendant; basse-taille enamel,
gold; France or Flanders; early 16th cen-
tury (9)

79.

80.

81.

82.

83.

84.

85.

86.

87.

88.

89.

90.

91.

92.

93.

94.

Diana on a stag, pendant; encrusted en-
amel on gold, and stones; France (?); 16th
century (38)

Mirror frame; champlevé enamel and cop-
per-gilt; France (?); second half 16th cen-
tury (24)

Pair of salt cellars; painted enamel, grisaille
and color, on copper; attributed to Couly
Noylier (about 1468—died after 1531);
Limoges; first third 16th century (24)
Roundel; St. Christopher carrying the
Christ Child; painted enamel on copper;
Nardon Pénicaud (1470-1542/3); Limoges;
late 15th-early 16th century (37)

Triptych, center Nativity, left wing Gabriel,
right wing The Virgin; painted enamel on
copper, bronze-gilt; Jean I. Pénicaud, (fl.
1510-40); early 16th century (28)

Folding book, Francis I on clasp; painted
enamel, grisaille, on copper, bronze-gilt;
Jean Pénicaud II (1510 —after 1576); Li-
moges; mid-16th century (24)

Labors of the Seasons, three plaques; Hay-
making, Ploughing, Cutting Wood; paint-
ed enamel on copper; Jean Pénicaud II
(1510 — after 1576); Limoges; mid-16th cen-
tury (24)

Virgin and Child, medallion; painted en-
amel, grisaille, on copper; Jean Pénicaud
III; Limoges; second half 16th century (24)
Casket, scenes from story of David and
Solomon; painted enamel on copper,
bronze-gilt; atelier of the Pénicauds; Li-
moges; 16th century (9)

Mary Magdalene, plaque; painted enamel
on copper; Léonard Limousin (about 1505-

1577); Limoges; mid-16th century (32)

Casket, scenes from story of Hercules;
painted enamel on copper; Frangois Li-
mousin (fl. 1564-88); Limoges; 1579 (24)
Pair of candlesticks; painted enamel, gri-
saille, on copper; I. L. (Jean Limousin I?
about 1561-1610); Limoges; second half
16th century (5)

The Virgin with emblems of litanies,
plaque, after a plate in book of hours,
(1505) by Thielmann Kerver; painted en-
amel on copper; Pierre Reymond, (about
1513-84); Limoges; mid-16th century (32)
Six plaques illustrating the Passion of
Christ; Ecce Homo, Flagellation, Bearing
the Cross, The Crucifixion, Descent from
the Cross, The Resurrection (the last is
not shown); painted enamel, grisaille, on
copper; Pierre Reymond (about 1513-1584);
Limoges; 1542 (13)

Cup and cover; painted enamel, grisaille,
on copper; Pierre Reymond (about 1513-
1584); Limoges; 1552 (4)

Ewer stand, with five scenes from Genesis
after Lucas van Leyden; painted enamel,
grisaille, on copper; Pierre Reymond (about
1518-1584); Limoges; 1557 (10), Gift of
Robert A. Weaver

95.

96.

97.

98.
99.
100.
101.

102.
103.

104.

105.

106.

107.

108.

109.

110.

111.

112.

113.

Plate, Joseph reveals himself to his broth-
ers; painted enamel, metallic foil, copper;
I. G. (Jean de Court or Jean Courtois); Li-
moges; second half 16th century (10), Be-
quest of William G. Mather

Orpheus attacked by the Maenads, plaque;
painted enamel on copper; Suzanne de
Court (fl. 1600); Limoges; late 16th-early
17th century (24)

“Aeneas persuades Anchises, Creusa, and
Ascanius to flee from Troy,” plaque, after
plate in 1502 edition of Aeneid illustrated
by Johann Griininger of Strasbourg; paint-
ed enamel on copper; Limoges; early 16th
century (38)

Venus (?), mirror back; painted enamel on
copper; Limoges; mid-16th century (5)
Two lovers, plaque; painted enamel on
copper; Limoges; mid-16th century (5)
Roundel; painted enamel on copper; North-
ern France (?); 16th century (5)

“De Occasion Suis,” plaque; painted en-
amel, grisaille, on copper; France; 16th
century (13)

St. Mathias, plaque; painted enamel, gri-
saille, on copper; France; 16th century (13)
Mirror back; en résille enamel, gold, rock
crystal; France; second half 16th century
(10), J. H. Wade Collection

Bénitier; painted enamel on copper, silver-
gilt; Limoges; early 17th century (37)

Salt cellar, with Apollo, Jupiter, Juno,
Diana, Mercury, Mars, Minerva; painted
enamel on copper; Limoges; 17th century
(38)

Brush back with motto “Mare Lascitur
Fortitudo”; painted enamel on copper;
France; 17th century (24)

St. Nicholas, plaque; painted enamel on
copper; Jacques IJ Laudin (about 1663-
1729); Limoges; late 17th-early 18th cen-
tury (24)

Reticule, with plaque showing beheaded
female saint; painted enamel on copper,
silk; France; early 18th century (24)
Watchcase; encrusted and painted enamel,
gold; France; mid-18th century (36)
Watch and chatelaine; painted enamel,
gold; Paris; mid-18th century (36)

Snuff box, with six genre and still life
scenes; painted enamel, miniature paint-
ing, gold; Eloy Brichard, (fl. mid-18th cen-
tury); Paris; 1759 (36)

Plaque, from a box, after Boucher, “La
legon agréable”; miniature painting on en-
amel, gold; France; late 18th century (24)
Pair of cloak pins, probably illustrating
first balloon flight across the English Chan-
nel; miniature painting on enamel over
transfer print, copper, brass; France, about
1784 (24)

16TH-18TH CENTURY: GERMANY

114.

Finger ring, skull with concealed compart-
ment; encrusted enamel, gold; South Ger-
many; 16th century (4)

115.

116.
117.
118.

119.

120.

121.

124.
125.

126.

127.
128.

129.

Pendant, with amethyst; encrusted enamel,
gold, stone; South Germany; late 16th cen-
tury (19)

“Faith,” plaque; painted enamel on gold;
Germany; early 17th century (4)

Cup and saucer; painted enamel, silver;
Augsburg; early 18th century (4)
“Madonna in a Bower,” pendant; encrusted
and painted enamel, silver, paste; Ger-
many; 17th century (4)

Buckle; encrusted and painted enamel,
paste, silver; Germany; 17th century (4)
Knife and fork; encrusted and painted en-
amel, gold, silver-gilt; South Germany;
mid-17th century (4)

Tankard; painted enamel, silver-gilt; Bar-
tholemaeus Pfister (d. 1696); Nuremberg;
second half 17th century (5)

. The Four Seasons, four roundels; painted

enamel on copper; Germany; about 1680

(22)

. Pair of beakers; painted enamel on cop-

per, silver-gilt; workshop of Pierre Fro-
méry (1659-1738); Berlin; early 18th cen-
tury (35)

Knife and fork; painted enamel on gold,
silver; Dresden; early 18th century (4)
Two decorative plaques; encrusted and
painted enamel, silver; South Germany;
18th century (4)

Plaque, from a box; painted enamel on
copper, gold; Christian Friedrich Heroldt
(1700-1779) ; Froméry workshop, Berlin;
mid-18th century (35)

Box; painted enamel; Germany, perhaps
Berlin; mid-18th century (38)

Emperor Joseph II of Austria; miniature
portrait on enamel, copper; signed “Pfarr’’;
Germany or Austria; second half 18th cen-
tury (4)

Pair of wall sconces; painted enamel on
copper, bronze-gilt; Vienna, Austria; 1780-
1790 (27)

17TH-18TH CENTURY: ENGLAND,
THE NETHERLANDS AND OTHER

130.

131.

132.

133.

134,
135.

Candlestick; champlevé enamel, brass; Sur-
rey (?), England; second half 17th century
35

Renieenesce champlevé enamel, brass;
England (?), Bavaria (?); second half 17th
century (24)

Alderman Stephen ‘Theodore Janssen,
wearing collar and robes of the Lord Mayor
of London; miniature portrait over trans-
fer print on enamel, copper; pinchbeck
frame; York House, Battersea, London,
England; 1754 (35)

Box, in shape of sparrow; painted on en-
amel, copper, brass; London (?), England;
1750-1760 (12)

Watchcase; en plein enamel, gold; London,
England; mid-18th century (24)

Round plaque, cloak pin (?); painted en-
amel over transfer print, copper, brass;
England; mid-18th century (12)

23

136.

137.

138.

139.

140.

141.

142.

143,

144.

145.

146.

147.

148.

149.

150.

Vinaigrette and scent bottle; painted en-
amel, miniature painting, copper, brass;
Bickley workshop (?); South Staffordshire,
England; 1760-1776 (12)

Salt cellar; painted enamel on copper;
South Staffordshire, England; 1760-1780
(24)

Pair of tea caddies and sugar canister;
painted enamel on copper, raised gilding;
South Staffordshire, England; about 1775
(35)

Oval box, portrait in fancy dress; miniature
portrait, gold, horn; initial “S”; England;
1770-1779 (12)

Scent bottle; encrusted and painted enamel
on glass; Bristol, England; 1770-1780 (35)
“Scarlet Strawberries!,’ oval box, after The
Cries of London; miniature painting, cop-
per; South Staffordshire (?), England; last
third 18th century (12)

Spy-glass; en plein enamel, miniature
painting, gold; Augustus Toussaint (fl.
1775-1788); England and France, (paint-
ing); 1770-1790 (36)

Spy-glass; painted enamel, copper-gilt;
Bilston, England; about 1780 (22)

“A Trifle from New York,” two patch box
covers; painted enamel on copper; England
(?); late 18th century (44)

“Be Happy,” box, two hearts on lid in-
scribed “A” and “P”; painted enamel,
copper, brass; England; late 18th-early 19th
century (12)

Two knives; painted enamel, gold, steel;
signed “Gtien van Banchem’’; The Nether-
lands; early 17th century (4)

Knife and fork; encrusted and painted en-
amel, gold; The Netherlands; 17th century
(38)

Knife and fork; encrusted and painted en-
amel on copper, steel, stone; The Nether-
lands; second half 17th century (35)
Charles XII of Sweden, brooch; miniature
portrait on enamel, gold; Sweden; late
18th century (3)

Brooch, two lovers in rustic setting; minia-
ture painting on enamel, silver-gilt; Gene-
va, Switzerland; late 18th-early 19th cen-
tury (3)

17TH-20TH CENTURY: RUSSIA AND THE NEAR EAST

151.

Assumption of the Virgin, plaque; champ-
levé enamel and copper; Russia; 17th cen-
tury (38)

. Crucifix and Christ blessing, icon; painted

enamel on silver; Usolsk; 17th century (38)

. Bowl; painted enamel, silver-gilt; Usolsk;

about 1690 (38)

. Bowl; painted enamel on copper, silver-

gilt; Moscow; late 17th century (17)

. Box; champlevé enamel on silver; Moscow;

late 17th century (17)

. Pair of portraits, Peter the Great and his

Czarina Catherine; miniature portraits on
gold; Russia; early 18th century (4)

157.
158.
159.

160.
161.

162.
163.

164.

‘165.

166.

167.

168.

Cup, with gold coin of 1756 1n base; plique-
a-jour enamel, gold; Russia; 19th century
(2) (38)

Badge and collar of the order of St. Andrew;
encrusted and painted enamel on gold;
J. W. Keibel; St. Petersburg; about 1840
(36)

Egg-shaped purse; cloisonné enamel and
silver-gilt; Russia; 19th century (12)
Bottle and saucer; painted enamel, brass-
gilt; Russia; 19th century (38)

Sherbet cup, plate, and spoon, with arms
of St. Petersburg, Moscow, and Kazan on
knop, from a set; en plein and plique-a-
jour enamel, silver-gilt; Fedor Riickert;
Moscow; late 19th century (36)

Tankard; encrusted, champlevé, cloisonné,
painted, and plique-a-jour enamel, silver-
gilt; Ovtchinnikov; Moscow; 1890 (36)
Cup and saucer; filigree plique-a-jour en-
amel, silver-gilt; Ovtchinnikov; Moscow;
about 1900 (36)

View of Hampton Court Palace; miniature
painting, gold, nephrite, ivory; the firm of
Peter Carl Fabergé; St. Petersburg; about
1900 (36)

Oval box; en plein enamel on silver, silver-
gilt; the firm of Peter Carl Fabergé; St.
Petersburg; about 1900 (36)

Imperial Easter egg; painted enamel, gold,
stones; Henrik Wigstrém (1862 — about
1930) of the firm of Peter Carl Fabergé;
St. Petersburg; 1907 (38)

Plaque; painted enamel, gold, pearls; Per-
sia; 19th century (?) (16)

Incense burner; champlevé enamel on
bronze; Near East; 19th century (38)

16TH-20TH CENTURY: THE ORIENT

169.

170.

171.

172.

173.

174.

175.

Krishna, The Divine Herdsman, pendant;
champlevé enamel, gold; Rajputana, India;
late 16th century (10), J. H. Wade Fund
Finger ring, in form of six fish; encrusted
enamel, gold; Jaipur, India; 18th century
(10), Gift of Mr. and Mrs. J. H. Wade
Finger ring, in form of six fish; encrusted
enamel on gold; Jaipur, India; 19th cen-
tury (?) (12)

Armlet; encrusted enamel, silver-gilt,
pearls, stones; Jaipur, India; late 18th-early
19th century (10), Gift of Mr. and Mrs.
J. H. Wade

Octagonal box; encrusted enamel, gold,
stones; Jaipur, India; late 18th-early 19th
century (10), Gift of Mr. and Mrs. J. H.
Wade

“Hsiang Lu,” incense burner; cloisonné and
champlevé enamels, copper and bronze;
probably Peking, China; cast mark, “Ta
Ming Hsiian-Té nien chih” (made in the
reign of Hsiian-Té [1425-1435] of the Great
Ming dynasty) (8)

Vase; cloisonné enamel, and copper-gilt;
China; Hstian-Té mark, 15th century (?)

(7)

176.

177.

178.

179.

180.

181.

182.

183.

184.

185.

186.
187.
188.

189.

190.

191.

192.

193.
194.

Vase; cloisonné enamel and bronze; China;
Ching T’ai mark (1450-1456) (33)

Hu, vessel; cloisonné enamel, bronze;
China; probably late Ming; 17th century
(6)

Chi-Lin, unicorn; cloisonné on copper-
gilt; China; K’ang Hsi (1662-1722) (43)
Lower part of a small box; painted enamel
on copper; China; probably Canton; Ch’ien
Lung (1736-1795) (24)

Bowl; painted enamel on copper; Peking,
China; Ch’ieng Lung mark (1736-1795) (7)
Sweetmeat box and cover; painted enamel
on copper; Peking, China; Ch’ien Lung
mark (1736-1795) (7)

Horse, with detachable trappings; cloi-
sonné enamel, brass-gilt; China; 18th cen-
tury (24)

Bowl; painted enamel on copper-gilt; Pe-
king, China; 18th century (18)

Double flask, “Sun and Moon”; cloisonné
enamel and copper; China; late 18th cen-
tury (7)

Pair of roosters; cloisonné and bronze-gilt;
China; probably Ch’ia Ching (1796-1821)
(8)

Dish, one of a set; painted enamel on cop-
per; Canton, China; 18th century (23)
Plate; painted enamel on copper; Canton
or Swatow, China; 18th century (23)
Basin; painted enamel on copper; Canton,
China; 19th century (6)

Ju-I, presentation scepter with symbols for
happiness, luck, longevity, etc.; cloisonné
enamel, bronze-gilt; China; 19th century
(12)

Vase, in imitation of porcelain; cloisonné
enamel, bronze; China; Ch’ing (1644-1912)
(6)

Votive figure with lotus stand; cloisonné
(?) enamel on bronze-gilt; Japan; late 18th
or early 19th century (8)

Lotus bowl; cloisonné enamel and bronze;
Japan; probably 19th century, Tokugawa
(6)

Salver; cloisonné enamel and bronze; Ja-
pan; 19th century, probably Tokugawa (6)
Stud; cloisonné enamel, gold; Japan; 19th
century (12)

1QTH-20TH CENTURY: WESTERN EUROPE

195.

196.

197.

198.

Box; en plein enamel on gold; mark “AJ”;
York, England; 1805-1806 (12)

The Honorable Carolyn Gailer, after Rey-
nolds; miniature portrait, copper; Henry
Bone, (1755-1834); England; early 19th cen-
tury (4)

The Lesser George, badge, of The Most
Noble Order of The Garter; en plein en-
amel, gold; England; 1800-1830 (36)

Zarf, holder for coffee cup; encrusted en-
amel, gold, stones; probably Geneva, Switz-
erland; about 1830 (16)

199.

204.

205.
206.

207.

. Napoleon;

Zarf, holder for coffee cup; miniature
painting, gold; Switzerland; early 19th cen-
tury (38)

. Pendant watchcase; painted enamel, gold,

pearls, chips; France or Switzerland; early
19th century (24)

painted enamel on copper;
France; mid-19th century (29)

. Wellington; painted enamel on copper;

France; mid-19th century (29)

. Bellona, plaque, contemporary duplicate

of one from a series made for the cradle of
the Prince Imperial; painted enamel, gri-
saille, on copper; A. Serre and Ferdinand
Barbédienne (1810-1892) ; Sevres, France;
about 1856 (38)

Brooch, in form of a snake; encrusted en-
amel on gold, agate; France; mid-19th cen-
tury (12)

Bangle, bracelet; encrusted enamel on gold;
France; mid-19th century (12)

Scent bottle, scene after Fragonard; minia-
ture painting, copper, gold; France or
England; 1850-1860 (6)

Parure: necklace, bracelet, brooch, pair of
earrings; encrusted enamel, gold, pearls,
paste; France; 1850-1870 (6)

. Watchcase, in form of a butterfly; painted

enamel, gold; Paris; 1850-1870 (24)

. Brooch, after Boucher, “La lecon agréable”;

miniature painting, gold, pearls; France;
about 1870 (12)

. Brooch, in form of five blackamoors’ heads;

encrusted enamel on silver; Vienna, Aus-
tria; 1850-1860 (25)

. Ewer and stand; painted enamel, silver-

gilt; Austria; after 1872 (24)

. Pendant, eagle; encrusted enamel, gold,

pearls, stones; Italy; 19th century (16)

. Pendant, Virgin and Child; encrusted en-

amel, gold; Spain; 19th century (6)

. Pendant, rose bud; encrusted enamel, gold,

rock crystal; France; about 1900 (12)

. “Love and Rainbow,” plaque; painted en-

amel; Alexander Fisher; England; early
20th century (13)

. Angel, plaque; painted enamel on copper;

Mrs. Ernestine Mills; England; early 20th
century (13)

. Centaur, plaque; cloisonné enamel on cop-

per, silver; Florence Nesmith; England;
early 20th century (11)

. “The Raleigh Ship,” casket; painted en-

amel on copper, silver; Omar Ramsden;
London, England; early 20th century (11)

. Bowl; plique-a-jour enamel, gold; Fernand

Thesmar, (1843-1912); France; 1903 (24)

. Cup; plique-a-jour enamel, gold; Fernand

Thesmar, (1843-1912); France; 1903 (38)

. Bowl; painted enamel on copper; Maria

Likarz; Vienna, Austria; 1917 (22

. Casket, with scenes from the story of Un-

dine; painted enamel on copper, silver;
Ruth Raemisch; Germany; first third 20th
century (24)

25

19TH-20TH CENTURY: UNITED STATES

223.

224.

225.

226.

227.

228.

229.

230.

231.

232.

233.

234.

235.

26

General Lafayette at the anniversary of the
Battle of Yorktown, October 19th, 1824,
after Scheffer; miniature portrait, copper;
William Birch, (1755-1834); Philadelphia,
Pennsylvania; about 1824 (44)

Plaque, an equestrian figure; champlevé
enamel, copper-gilt; Edward F. Caldwell;
New York; first quarter 20th century (13)
Casket, humidor, in the manner of Limoges
13th century; champlevé enamel, copper-
gilt, bronze-gilt; engraved, “E. F. Caldwell
& Co. New York”; New York; about 1925
(27)

Triptych, Nativity; cloisonné enamel on
silver; Arthur Nevill Kirk; United States;
first third 20th century (11)

“Golden Fishes,” tray; painted enamel on
copper; Virginia Dudley, (1913- ); Ris-
ing Fawn, Georgia; mid-20th century (15)
“Primeval Patterns,” trays, two of set of
three; painted enamel on copper; Virginia
Dudley, (1913- ); Rising Fawn, Georgia;
mid-20th century (15)

“Childhood Impressions,” plaque; painted
enamel on copper; Maureen Wicke; Grosse
Point Farms, Michigan; mid-20th century
(39)

“Fish Number Five,” appliques on drift-
wood; painted enamel on copper, wood;
Maureen Wicke; Grosse Point Farms,
Michigan; mid-20th century (39)
“Geometry,” plaque; painted enamel on
copper, wire; Maureen Wicke; Grosse Point
Farms, Michigan; mid-20th century (39)
“Argument in a Limoges Market Place,”
plaque; painted enamel on silver and cop-
per; Kenneth Francis Bates, (1904- );
Cleveland, Ohio; 1944 (10) The Dudley P.
Allen Collection

“My Trip to Pittsburgh,” plaque; painted
enamel on silver; Kenneth Francis Bates,
(1904- ); Cleveland, Ohio; 1945 (10) The
Dudley P. Allen Collection

“Message,” plate; painted enamel on cop-
per, gold, silver; Kenneth Francis Bates,
(1904- ); Cleveland, Ohio; 1945 (2)
Cross, scenes from the Life of Christ;
painted enamel on silver; Charles Bartley
Jeffery, (1910- ); Cleveland, Ohio; 1945
(10) The Dudley P. Allen Collection

236.

239.
240.
241.
242.

243.
244.
245.
246.
247.
248.
249,

250.

“Heads of Christ and Mary,” diptych; cloi-
sonné enamel on silver and gold foil, rose-
wood; Charles Bartley Jeffery, (1910- );
Cleveland, Ohio; 1953 (21)

. Bowl number one; painted enamel on

copper, silver foil; Charles Bartley Jeffery,
(1910- ); Cleveland, Ohio; 1953 (21)

. Bowl number two; painted enamel on

copper, gold foil, silver foil; Charles Bart-
ley Jeffery, (1910- ); Cleveland, Ohio;
1953 (21)

“Nereid,” plaque; painted enamel on cop-
per; Doris Hall, (1907- ); Cleveland,
Ohio; 1948 (10) The Rorimer-Brooks An-
niversary Award, 1948

“Cycle of Life,” plaque; painted enamel
on copper; H. Edward Winter, (1908- );
Cleveland, Ohio; 1948 (10) Gift of Mrs.
B. P. Bole

Bowl; painted enamel on copper; H. Ed-
ward Winter, (1908- ); Cleveland, Ohio;
1953 (10) Gift of The Cleveland Art Asso-
ciation

Wall Cross, scenes from the Life of Christ;
painted enamel on copper, pewter; Karl
Drerup, (1904- ); Campton, New Hamp-
shire; 1953 (14)

“St. Michael,” bowl; painted enamel on
copper, pewter; Karl Drerup, (1904- ys
Campton, New Hampshire; 1953 (14)
“Profile,” plaque; painted enamel on cop-
per, sgraffito; Jackson Woolley; San Diego,
California; 1953 (41)

“Queen,” plaque; painted enamel on cop-
per, sgraffito; Ellamarie Woolley; San
Diego, California; 1954 (41)

“Carnival,” plaque; painted enamel on
copper; Arthur Ames; Claremont, Cali-
fornia; 1954 (1)

“Night Fragment,” plaque; painted en-
amel; Jean Ames, (1905- ); Claremont,
California; 1954 (1)

“Fisherman,” plaque; painted enamel on
copper, sgraffito; Barney M. Reid; San
Diego, California; 1954 (30)

Plaque; painted enamel on copper, rose-
wood; Kathrine Winckler; East Lansing,
Michigan; 1954 (40)

Plaque; painted enamel on copper, ama-
ranth; Kathrine Winckler; East Lansing,
Michigan; 1954 (40)

Selected References from The Cooper Union Libraries

GENERAL

Bates, Kenneth F. Enameling: principles and
practice. Cleveland, World Pub. Co., 1951.
Burlington Fine Arts Club. Catalogue of a col-
lection of European enamels from the earliest
date to the end of the XVII. century. Lon-

don, 1897.

Cunynghame, Sir Henry H. European enamels.
New York, Putnam, 1906.

Davenport, Cyril. Miniatures, ancient and mod-
ern. London, Methuen, 1907. “Enamels,” pp.
133-156.

Garnier, Edouard. Histoire de la verrerie et de
l’émaillerie. Tours, Mame, 1886.

Marquet de Vasselot, J. J. Bibliographie de
Vorfevrerie et de l’émaillerie frangaise. Paris,
Picard, 1925.

Molinier, Emile. Dictionnaire des émailleurs
depuis le moyen Age jusqu’a la fin du XVIIIe
siécle. Paris, Rouam, 1885.

ANCIENT AND ORIENTAL

Coomaraswamy, Ananda K. An Indian enamel.
Boston Museum Bulletin, v. 38, pp. 23-28,
April, 1940.

Hildburgh, Walter L. Chinese painted enamels
with European subjects. Burlington Maga-
zine, v. 79, pp. 78-89, Sept. 1941.

Jacob, Sir Samuel S., and Hendley, T. H. Jey-
pore enamels. London, Griggs, 1886.

Rienaecker, Victor G. R. Chinese cloisonné.
Apollo, v. 48, pp. 42-43 and 53-55, Aug. and
Sept. 1948.

MEDIEVAL

Belin de Ballu, Eugene. Collections et monu-
ments byzantins en U.R.S.S. Mouseion, v.
49-50, pp. 141-198, 1940.

Boinet, Amédée. Exhibition of Limousin en-
amels at the museum of Limoges. Connois-
seur, V. 122, pp. 75-82, Dec. 1948.

Botkin, M. P. Sobranie M. P. Botkina. St.
Petersburg, 1911.

Breck, Joseph. Notes on some Mosan enamels.
Metropolitan Museum Studies, v. 1, pp. 81-94,
1928.

Bunt, Cyril G. E. An important group of By-
zantine enamels. Connoisseur, v. 132, pp.
104-105, Nov. 1953.

Gauthier, Marie Madeleine. Emaux champlevés
des XII-XIIle siécles. Paris, de Prat, 1950.
Goetz, Oswald. Medieval enamels and metal-
work in the Buckingham collection. Chicago
Art Institute Bulletin, v. 38, pp. 105-112, Dec.

1944.

Lansing, Ambrose. Masterpieces of enameling.
Metropolitan Museum Bulletin, v. 35, pp.
99-103, May, 1940.

Milliken, William M. European enamels pre-
sented by Robert A. Weaver. Cleveland Mu-
seum Bulletin, v. 27, pp. 149-154, Dec. 1940.

Ostoia, Vera K. Late medieval plique-a-jour
enamel: a Swiss 16th century plaque. Met-

ropolitan Museum Bulletin, ns. v. 4, pp.
78-80, Nov. 1945.

Rorimer, James J. A 12th century Byzantine
enamel. Metropolitan Museum Bulletin, v.
33, pp. 244-246, Nov. 1938.

Schlunk, Helmut. Crosses of Oviedo: the prob-
lem of the enamels. Art Bulletin, v. 32, pp.
105-110, June, 1950.

RENAISSANCE

Phillips, John G. Two Limoges candlesticks.
Metropolitan Museum Bulletin, v. 34, pp.
138-140, June, 1939.

Raggio, Olga. Decorative portraits by Léonard
Limousin. Metropolitan Museum Bulletin,
n.s. v. 10, pp. 96-105, Nov. 1951.

Reed, Herbert. A Pénicaud masterpiece: Li-
moges enamel triptych. Burlington Magazine,
v. 57, pp. 278-284, Dec. 1930.

Ross, Marvin C. Notes on enamels by Pierre
Reymond. Walters Art Gallery Journal, v. 2,
pp. 77-103, 1931.

Swarzenski, Georg. A masterpiece of Limoges:
relief in gilded copper with champlevé en-
amels representing the Baptism of Christ.
Boston Museum Bulletin, v. 49, pp. 17-25,
Feb. 1951.

17TH AND 18TH CENTURIES

Beard, Charles R. Surrey enamels of the 17th
century. Connoisseur, v. 88, pp. 219-229, and
yv. 90, pp. 25-26, Oct. 1931 and July 1932.

Clouzot, Henri. Dictionnaire des miniaturistes
sur émail. Paris Morancé, 1924.

Hill, Henry and Sidney. Antique gold boxes.
New York, Abelard, 1953.

Honey, William B. New light on Battersea en-
amels. Connoisseur, v. 89, pp. 82-89 and 164-
170, Feb.-March 1932.

Hughes, Bernard. Battersea and Bilston en-
amels. Antiques, v. 16, pp. 29-32, July 1929.

Paris. Musée national du Louvre. Les émaux
de Petitot au Musée imperial du Louvre.
Paris, Blaisot, 1862-64. 2 v.

Victoria and Albert Museum, South Kensing-
ton. Catalogue of English porcelain, earth-
enware, enamels and glass collected by Charles
Schreiber and the Lady Charlotte Elizabeth
Schreiber. London, 1924. 3 v. “Enamels and
Glass” by Bernard Rackham, vol. 3.

19TH AND 20TH CENTURIES

Bainbridge, Henry C. Peter Carl Fabergé. New
York, Batsford, 1949.

Brockway, John L. William Birch, his Ameri-
can enamel portraits. Antiques, v. 24, pp.
94-96, Sept. 1933.

Moran, J. Spenser. Rising Faun enamels. Craft
Horizons, v. 14, pp. 26-31, Feb. 1954.

Snowman, A. Kenneth. The art of Carl Fabergé.
London, Faber, 1953.

Watson, E. W. and Guptill, A. L. Edward
Winter opens up new decorative vistas. Amer-
ican Artist, v. 11, pp. 38-41, Sept. 1947.

Wuitney N. Morcan

27

CONTRIBUTORS

To the Exhibition

JEAN AND ARTHUR AMEs (1)
KENNETH FRANCIS BATES (2)

Mr. AND Mrs. MiIcHEL BENISOVICH (3)
THE BLUMKA GALLERY (4)
LEOPOLD BLUMKA (5)

THE BROOKLYN MusEuM (6)

C. T. Loo, Inc., FRANK Caro,
SUCCESSOR (7)

Ravpu M. Cuair (8)
‘THE Art INSTITUTE OF CHICAGO (9)

‘THE CLEVELAND MusEuM oF ART
(10)

THE Museum oF THE CRANBROOK
ACADEMY OF ArT (11)

‘THE CooprpeR UNION Museum (12)
‘THe DeErroir INSTITUTE OF Arts (13)
Karu Drerup (14)

Miss VirGiniA DupLEy (15)
RAPHAEL ESMERIAN (16)

LEON GRINBERG (17)

Mr. AND Mrs. NATHAN V. HAMMER
(18)

Joun Davis Hatcn, Jr. (19)
Hans Hutu (20)

CHARLES BARTLEY JEFFERY (21)
KLEJMAN GALLERY (22)
MaruiaAs Komor (23)

THE METROPOLITAN MUSEUM OF ART
(24)

28

it

Mrs. CHarLEs F. MorGan (25)

‘THE PIERPONT MorGAN LIBRARY
(26)

A. R. NESLE (27)

THE PHILADELPHIA MUSEUM OF ART
(28)

THe Art MusruM, PRINCETON
UNIVERSITY (29)

Barney M. Rerp (30)
Aris SILBERMAN (31)
RAPHAEL SToRA (32)

TONYING AND COMPANY (33)

THe UNIversiry MuszumM, UNIVER-
SITY OF PENNSYLVANIA (34)

IRWIN UNTERMYER (35)

A La VIEILLE RussiE (36)

THe WaApsworTH ATHENEUM (37)
THe Watters ArT GALLERY (38)

Miss MAuREEN WICKE through THE
LitrLte GALLery, Birmingham,
Michigan (39)

Miss KATHRINE WINCKLER (40)

ELLAMARIE AND JACKSON WOOLLEY
(41)

Tue Worcester ArT Museum (42)
Epcar Worcu (43)

YALE UNIversiry ArT GALLERY (44)

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ANLILSNI_NVINOSHLINS _S3 luviud Ine LIBRARI! ES SMITHSONIAN INSTITUTION eNOS
i ’
a S oe = Ai oS =
Oo : = o = Lf wo =
2 = - 5 y= E
zx = a a YF C7 2 =
m ee) = n* a ao
o a w z o =
RARITIES SMITHSONIAN -INSTITUTION NOILNLILSNI NVINOSHLINS S31yuvugit
is Ziel no z n : z
= =< = < = =
= z a z = z
= = 2 E z, =
2 a z B 2 a
_ NVINOSHLINS LIBRARIES SMITHSONIAN INSTITUTION
Ae wn S no > o
g = & u ® w
> o = o at oe
=A << = < al <x
= co = mM! = ao
2 5 2 i S =
al
RAR! ES_ SMITHSONIAN _ INSTITUTION _NOILNLILSNI_NVINOSHLINS_ $3 lyuvud 0 LIBRARIES
= fp = a = 5 |
- 2 E a E = |
Zz m 2 m Z i
= — wo s =
LNLILSNI Ss l\uvugd Mott BRARI ES OMITHSONIAN INSTITUTION, NOILNLILSNI
Z = BN Ss Sac =
3 5 2 ON 5 a
o oO » 2 X ee a o
= =e = WS, Zz = Zz
= > = Nee = CU SE
: w 2 wn = = wo . ea
RARIES SMITHSONIAN INSTITUTION NOILALILSNI NVINOSHLINS Saluvdal1_LIBRARIES
wo = 2 St. v, 4

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